For Jimmy: Lindsey's chart/sales info

[trackaghost]

Jimmy, I'm still trying to find out what Under The Skin has sold overall but I can tell you that it debuted on the Billboard chart at No.80 (21/10/2006) and fell to No.187 the following week - after that it fell off the chart.

Its first week sales were 13,111 copies.

I don't have sales figures for the UK but it was only on the chart for one week (for the week ending October 21) debuting at No. 154

Edit: Hayley has provided info on the US sales for UTS and OOTC to date in this post:

http://ledge.fleetwoodmac.net/showpo...2&postcount=33

US Soundscan totals as of this week (w/e 2-18)-

Under the Skin- 57,761 RTD
Out of the Cradle- 195,277 RTD


Also here are the chart runs for his previous singles and albums. All the numbers refer to chart positions, the number highlighted is the highest chart position.


UK SINGLES
1. TROUBLE
Date: 16/01/1982 - Run: 65-50-*31*-37-35-45-50 (7 wks) US:#9/19/5


US SINGLES
1. TROUBLE
Date: 24/10/1981 - Run: 74-55-30-24-19-16-13-12-11- 10-10-10-*9*-9-22-24-52-88-96 (19/5 wks) UK:#31/7

2. HOLIDAY ROAD
Date: 06/08/1983 - Run: 92-86-84-*82*-99 (5 wks)

3. GO INSANE
Date: 28/07/1984 - Run: 70-58-50-45-40-35-34-31-27-25-24-*23*-39-59-84-98 (16 wks)


UK ALBUMS

1. OUT OF THE CRADLE
Date: 08/08/1992 - Run: *51* (1 wk) US:#128/9


US ALBUMS

1. LAW & ORDER
Date: 07/11/1981 - Run: 98-50-41-36-33-*32*-33-39- (8 wsf)
02/01/1982: 39-43-44-43-43-46-45-51-63-66-83-95-111-128-146-188 (24 wks)

2. GO INSANE
Date: 01/09/1984 - Run: 125-62-57-48-*45*-45-45-45-55-65-96-96-113-133-137-168 (16 wks)

3. OUT OF THE CRADLE
Date: 04/07/1992 - Run: 147-133-133-143-145-*128*-135-151-0-0-0-200 (9-8c wks) UK:#51/1

[shackin'up]

who's jimmy?

[strandinthewind]

I often wonder what LB though of his very limited success in his solo career when compared to Stevie's mega success. After all, LB crafted Stevie's FM songs into hits and then she found someone else to help her do that, especially after she dumped him - though they had done some extra FM work together while in FM a la Magnet and Steel. That had to hurt.

Then, LB claimed not to care about success so much as being an artist, but, he could not sell being an artist to any significant degree save for Trouble, which was a hit, though the album was not when compared to La Nicks or FM. I often wonder if he felt perhaps emascualted because CM had the hits and La Nicks had the mega fame - both of which he was a large catalyst of, though CM and La Nicks are certainly talented in their own right - CM moreso from an ability to play perspective and La Nicks moreso from a writing and vibrant performing perspective.

I think that LB came back to FM three times (TITN, The Dance, and SYW) instead of pursuing solo projects speaks volumes as to how he felt.

I guess he truly is the artist torm between selling and art - though I argue his commercial stuff (both his own and the stuff he produced) that sold in the stratosphere is both art and successful.

[trackaghost]

Originally Posted by shackin'up

who's jimmy?

AliceLover...

Btw, apparently Christine's In The Meantime sold just 7,156 copies in the UK

Also, the reason this info is hard to get is because none of Lindsey's albums (including the new one) have apparently sold or shipped more than 500,000 copies yet, which means none have been certified.

[BTFLCHLD]

Originally Posted by strandinthewind

I often wonder what LB though of his very limited success in his solo career when compared to Stevie's mega success. After all, LB crafted Stevie's FM songs into hits and then she found someone else to help her do that, especially after she dumped him - though they had done some extra FM work together while in FM a la Magnet and Steel. That had to hurt.

Then, LB claimed not to care about success so much as being an artist, but, he could not sell being an artist to any significant degree save for Trouble, which was a hit, though the album was not when compared to La Nicks or FM. I often wonder if he felt perhaps emascualted because CM had the hits and La Nicks had the mega fame - both of which he was a large catalyst of, though CM and La Nicks are certainly talented in their own right - CM moreso from an ability to play perspective and La Nicks moreso from a writing and vibrant performing perspective.

I think that LB came back to FM three times (TITN, The Dance, and SYW) instead of pursuing solo projects speaks volumes as to how he felt.

I guess he truly is the artist torm between selling and art - though I argue his commercial stuff (both his own and the stuff he produced) that sold in the stratosphere is both art and successful.

UHHUH

[shackin'up]

Originally Posted by strandinthewind

I think that LB came back to FM three times (TITN, The Dance, and SYW) instead of pursuing solo projects speaks volumes as to how he felt.

I guess he truly is the artist torm between selling and art - though I argue his commercial stuff (both his own and the stuff he produced) that sold in the stratosphere is both art and successful.

Still, listening to his solo-albums speaks bigger volumes. He simply didn't go for selling. OOTC is maybe an exception, but for the rest one can only conclude: here's a man searching for meaning in his art not for the bucks in his art. Which he already proved that he could. When in this life is that going to sip through, Strand? As so often, I just can't follow some of his fans that seem to disregard what he is telling through his music AND in every fokking interview he gives. Maybe you guys are the reason that he's telling the same story for almost 30 years, simply because people don't seem to "hear" it.

Even worse: After everytime he has to tell the same story that is NOT accepted by the most of us, we conclude he's whining.

[strandinthewind]

^^^

I think Law and Order was a direct commercial venture.

I think he recently said Go Insane was a commercial venture.

In the end, I think it is possible to be both and clearly he wants to be commercially successful or he would have left The Mac after Tusk and certainly after Mirage (where they made more millions) -- yet, he came back three times, and admitted that The Dance was about the money and SYW came about because Warner's did not want the GOS but would take him with The Mac. So, commercial viability mattered to him at least four times in the past because he certainly had enough money to release all of his solo records after Tusk and never do a Mac commercial project again - but he did not and kept running back to the Mac - which I think does both art and commercially successful very well. I will note UTS is not in any way commercially viable and he seems happy with that, but only after having his cake and eating it too for 20+ years and while protesting during that time. Again, the man built a like $15 million house and lived at The Four Seasons for like a year. Clearly, he likes the money.

Of course, he could have been coming back to The Mac to be with Stevie

[BTFLCHLD]

I just want to know how many vinyls are in the world so I can fantz on rolling around naked with them and Lindsey...dammit.

[AliceLover]

Thanks for posting this info Sharon!

Its funny, Holiday Road charted so bad, but everyone knows that song. EVERYONE.

[BTFLCHLD]

Originally Posted by AliceLover

Its funny, Holiday Road charted so bad, but everyone knows that song. EVERYONE.

IMO they are now sick of the bark bit.

[strandinthewind]

Originally Posted by AliceLover

Thanks for posting this info Sharon!

Its funny, Holiday Road charted so bad, but everyone knows that song. EVERYONE.

I agree on both counts!!!!!!!!!

And - I LOVE Holiday Road - arf arf arf - arf arf arf

[danax6]

Originally Posted by strandinthewind

^^^

I think Law and Order was a direct commercial venture.

I think he recently said Go Insane was a commercial venture.

I think he said it had elements aimed for the commercial market, like Trouble and Slow Dancing (respectively) but overall they were albums where he tried to push the limits of his creativity, Go Insane more so than L&O. He specifically mentioned Go Insane got crazier as the album progressed. I have a hard time believing he was aiming to sell as many albums as possible. If that was the case, he would have made a Rumours II.

In the end, I think it is possible to be both and clearly he wants to be commercially successful or he would have left The Mac after Tusk and certainly after Mirage (where they made more millions) -- yet, he came back three times, and admitted that The Dance was about the money

Not entirely. He felt if he did the Fleetwood Mac thing he would have more of a leg out there if he were to release a solo after that. I doubt he really only did it for the money, he obviously wasn't in dire need of any. By both his own and Stevie's admission.

and SYW came about because Warner's did not want the GOS but would take him with The Mac.

What other options did he have then?

Of course, he could have been coming back to The Mac to be with Stevie

That's what he told me.

[mylittledemon]

I bow gracefully and beg pardon of TRACKAGHOST...went out of your way on all those sales info for a certain Ledgie...

[strandinthewind]

There was an interview for SYW where LB flat out says The Dance was about the money and, I think, the exposure it would get him to a world who had pretty much forgotten him.

As for SYW and what was he supposed to do, well he could have released the GOS songs online for free or for $1.00 a song after The Dance. I mean if artistic integrity is all he cares about, then why care if it sells or why use FM once again to sell it

[danax6]

Originally Posted by strandinthewind

There was an interview for SYW where LB flat out says The Dance was about the money and, I think, the exposure it would get him to a world who had pretty much forgotten him.

He probably wouldn't have done it for free, no, but I do really think that the latter was the biggest issue.